Medium Cool (Blu-ray) Criterion Collection

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All Rise...

Contrary to popular belief, Judge Gordon Sullivan is not Harold Blankenship. Those are long disproven rumors.

Editor's Note

Our review of Medium Cool, published
January 15th, 2002, is also available.

The Charge

Beyond the age of innocence…into the age of awareness

Opening Statement

Cinema has long suffered a shaky relationship with the line between fiction
and reality. Yes, the very earliest examples of the technology are largely
"documentary," because they capture a few seconds of what happened to be in
front of the camera. But, by and large, filmmakers have been mixing fact and
fiction for over a century now. That includes everything from staging
"realistic" scenes that did once occur but don't anymore (like the famous shots
of Nanook harpooning in Nanook of the North), to using cinema's power to
show the re-assembly of a collapsed building by reversing the projector.
However, for much of cinematic history (at least in America) filmmakers have
ignored this line, producing fictional tales which have their roots in fictional
stories from the page or the stage, shot with recognizable stars on studio sets.
With the increasing availability of lightweight 16mm cameras and portable sound
recorders, documentarians had new tools to take their film to the streets. On
the flipside, fictional directors had more freedom to incorporate reality
outside the studio into their films. One of the most famous (and successful) of
these is Haskell Wexler's Medium Cool. Criterion has lavished the film
with a near-perfect Blu-ray release that showcases an important piece of
America's cultural history.

Facts of the Case

John Cassellis (Robert Forster, Jackie Brown) is a television news
cameraman in Chicago 1968. He doesn't give too much thought as to what he
covers, as long as the footage is good and he gets paid. When he discovers his
politically charged footage (including interviews with underground organizers)
is being given to the FBI for screening, he becomes incensed and loses his job.
This sets him off on an odyssey during which he falls in love with, Eileen
(Verna Bloom, High Plains
Drifter), a recent transplant from West Virginia. However, Eileen's son runs
away when he discovers his mother's romance, and the private world of John and
Eileen collide with the very public world of the 1968 Democratic National
Convention.

The Evidence

Medium Cool is one of those films that's continually in danger of
being overshadowed by the stories around it. Yes, it was the debut fiction
feature of Haskell Wexler, noted cinematographer on Who's Afraid of Virginia Woolf? who
would go on to lens classics like One
Flew Over the Cuckoo's Nest. Yes, the film mixes fictional scenes with its
protagonists alongside documentary footage of the actual riots surrounding the
'68 Democratic National Convention (including scenes where the fictional
protagonists roam around the factual protests). And yes, the film's potent blend
of fact and fiction is related to a similarly potent political message about the
media and the responsibilities inherent in documenting.

However, Medium Cool is also a visually inventive drama with an
interesting story to tell, even if there are no intersections with contemporary
American politics. Cassellis' journey from jaded cameraman to engaged activist
is a classic narrative, while the portrait of Eileen and her son is an affecting
story of rural transplant to the big city. Of course these stories wouldn't work
without decent actors, and Wexler cast the film perfectly. I'll admit, when I
first saw Jackie Brown, I couldn't
understand why Tarantino would want to revive Robert Forster's career. It took
seeing Medium Cool to appreciate the real magic. He's believable to start
as the jaded camera-guy, and later as the more engaged-but-seeking-direction
lost soul. Verna Bloom plays off Forster's masculinity beautifully, as the
strong willed but obviously vulnerable new person in the big city. Even Harold
Blankenship does a great job as Eileen's son.

In 2003, Medium Cool was chosen for inclusion in the National Film
Registry, and Criterion has provided a Blu-ray release that lives up to that
historical importance. It all starts with the new digital restoration of the
original negative as overseen by Wexler. The result is a gorgeous 1.85:1/1080p
AVC-encoded transfer whose distinct color scheme of the period is
well-maintained, and fine object detail is always impressive. Black levels stay
consistent and fairly deep as well. Most laudable is the near-total lack of
print damage. For a film that was shot very unconventionally, in
sometimes-dangerous circumstances, it's amazing the film has been preserved so
well. The LPCM 1.0 Mono track is just as impressive, even if the limited 1968
technology means it's not quite as appealing as the visuals. Dialogue is clean
and clear, and there's a surprising amount of dynamic range.

The upgraded a/v presentation alone would have made this a must-buy, but
Criterion went and added on a ton of extras into the mix. Things kick off with
two commentaries. The first features Wexler, consultant Paul Golding, and
actress Marianna Hill, discussing most of what you want to hear: production
stories, stylistic choices, and real-life locations. Though the track is a
carryover from a previous release, the second track from film historian Paul
Cronin is new for this edition. Cronin is an expert on Wexler and the film,
sharing fascinating tidbits about Medium Cool and its afterlife. Cronin's
hand is also seen in the excerpts (totaling 54 minutes) from his documentary
Look Out Haskell, It's Real, a fascinating look at the making of the film
through interviews with many of those involved. Another Cronin
project—2007's Sooner or Later—is also excerpted, this time
focusing on Harold Blankenship, to see how his life has been affected by the
film. We also get a 34 minute interview with Wexler, and a new featurette which
finds the director re-visiting Chicago to interview members of the Occupy
movement. The usual Criterion booklet includes a perceptive essay by film critic
Thomas Beard that nicely lays out the historical and theoretical issues
surrounding the project.

Closing Statement

Medium Cool is a surprising film that maintains its ability to affect
audiences more 40 years after the events it captures. Utilizing a potent mix of
fact and fiction, Haskell Wexler captured lightning in a bottle, as his
country's future changed completely. While the unconventional storytelling and
outdated styles might be a sticking point for some, thanks to this Criterion
Blu-ray, viewers will be able to appreciate Wexler's unique vision for a long
time to come.